The Chicago hip-hop group Animate Objects returns home for a show this Thursday at Cowboy Monkey, 6 E. Taylor St. Their debut album, “Riding in Fast Cars With Your Momma”, features 11 songs built to rev your engine. Bassist Prashant Vallury took some time to field On The Town’s questions Monday night.

OTT: Animate Objects won the right to play the Rock ‘n’ Vote show last Thursday at the Double Door. Did the show itself rock as hard as your poll results?

PV: Correction, we won the thing. Kinda like Juice to Rejus in the 2008 BCS Championship game. Book it.

OTT: You’ve played many of Chicago’s hotspots, do you have a favorite place to jam?

PV: Have füd? We’ll play.

OTT: Does your music change much in the live setting?

PV: Yes, mainly because we often have no clue what we’re playing to begin with.

OTT: Do you have a favorite song to play live?

PV: “Der Ring des Nibelungen”

OTT: Do you miss playing frequently in Champaign since making the move to Chicago?

PV: Absolutely, Champaign is home for us and will always be. Plus, if I said no, Nate Jones from Brother Embassy would have my head on a stick.

OTT: What should fans expect for Thursday’s show at Cowboy Monkey?

PV: We have a powerpoint presentation on the effects of glacier moulins on the ever-changing global climate. And “Der Ring des Nibelungen.”

OTT: Does Animate Objects have anything in the works for the future?

PV: We plan to open a lint recyclery/Turkish bath in Mahomet after our days of playing are over. But for the near future, we have a tour of Singapore in the works, a showcase at the MTV VMA’s, and a second album to record.

Catch Animate Objects at Cowboy Monkey this Thursday starting at 10 p.m. Cover is $5 and Treologic will also play.

In an appearance today at Ebertfest following the screening of Beyond the Valley of the Dolls, Roger Ebert spoke to the audience with the help of a computer program, which was donated for his use today by the University of Illinois and College of Communications Dean Ron Yates. Ebert spoke about the film he co-wrote with Russ Meyer, which was shown today as the conclusion to Ebertfest. Ebert admitted that he and co-writer Russ Meyer couldn’t keep a straight face through the writing of the film and said to sum up his emotions a line from BVD, “It’s my happening and it freaks me out!” which evoked laughter from the audience.

A disclaimer reading “This is not a sequel to Valley of the Dolls” was the first “joke” the audience viewing Beyond the Valley of the Dolls (or BVD) encountered Sunday afternoon. I myself, was not sure what to expect, not having seen the original Valley of the Dolls and honestly there to see the band Strawberry Alarm Clock (they played “Insence and Peppermints” ) perform. Even the introduction to the film, with it’s witty humor and inside jokes that only those who had seen the film understood, gave no inclination as to what I was about to see. What I saw, turned into a strange mix of sex, drugs, and rock ‘n roll, literally. Roger Ebert and Russ Meyer ( a “skin-flick auteur” ) created a film that instead of being a sequel to Valley of the Dolls, took every cliche from Hollywood and VotD and wrapped it up into one satirical package. As the offspring of two baby boomer’s (one of them an ex-hippie) I have grown up in a world of classic rock music; The Beatles, The Stones, etc; so to see a film in which an actual band (Strawberry Alarm Clock) is portraying the rock ‘n roll, and actually writing songs for a film that has to deal with said world, was a pleasant experience.

BVD’s plot, in the most basic form, is about a female rock group; Kelly, Casey and Pet; who decide to pack up and move to LA to find fame and riches. When reaching LA, they find Kelly’s famous fashion designer aunt Susan and get involved in her world of drugs, sex and rock ‘n roll. Without giving too much away, the girls each find their own sexual freedom and have to decide which side of innocence is worth having. The film seems to represent much of the time period from the clothing to the music to the idea of free love and happiness.

Meyer was one of the first to use the quick cuts in BVD that are seen in many films now a days and much of the comedy comes from the way the actors really seem to be taking the film and script so seriously. On top of the comedic feel to the film, is a post-modernist representation of some of the dialouge and scenes. For example, one of the ending sequences is frighteningly similar to the murders of the Manson family. Guest Marcia McBroom, who played Pet, urged the audience to laugh at such violent sequences, however, promising that they were meant for that purpose.

Audience members were also given a special performance from the Strawberry Alarm Clock which both wrote songs for and appeared in BVD. And although the band is definitely getting up there in age (some in their 70s) they still knew how to rock out!

Director Werner Herzog discusses his work on Stroszek following the film’s screening at Ebertfest. Media Credit: Ped Naseri.

Werner Herzog is one of my all time favorite directors. Last May I wrote a twelve-page paper on his films The Enigma of Kasper Hauser and Woyzeck (which are both fantastic) and never did I think that nearly a year later I would be chatting with the great filmmaker about it.

The film shown tonight was one I hadn’t seen before, and once again, he’s blown me away. Stroszek is a film about a trio of very intriguing characters that move from Berlin to Wisconsin. The interactions they have in both Germany and the United States are quirky, insightful, hilarious, and dramatic. It’s a movie that can be described with any number of positive adjectives, every scene bursting with emotion and things that make you think; it’s also a great introductory film to one of the most impressive oeuvres in film history.

I have to mention that listening to Herzog speak about his art is something that is completely inexplicable in and of itself, in terms of how exceptional it was. He’s very intelligent and funny, and hearing him share his amazing stories was such an awesome experience.

I might sound overly flattering, but I can’t help but feel inspired by having the opportunity to listen to him on the panel and chat with him afterwards. To me, Herzog represents the best of filmmaking; the art of sharing ideas and emotion, and expressing humanity; filmmaking at it’s most sincere.

I would definitely recommend checking out his movies, which you can find a complete list at the Internet Movie Database and to look for his latest flick with Batman Begins star Christian Bale in Rescue Dawn, coming soon.

Directors Paul Cox and Werner Herzog discuss Man of Flowers following the film’s screening. Media Credit: Ped Naseri.

Man of Flowers definitely gets the award for most peculiar film I’ve seen thus far at Ebertfest. That’s not a bad thing, however. Naturally with a Herzog film on the list you’re bound to see something peculiar, however I’m accustomed to that style coming from a renowned director. Paul Cox is a name that until this year was unfamiliar to me.

Man of Flowers is another one of those films that’s hard to explain, but I’m going to give it a shot. The story follows a man by the name of Charles Bremmer, a middle-aged bachelor with vast knowledge of art history, floral arrangements, and pretty much anything of class. His peculiarity is derived from his appreciation of beauty but no ability to express it. Now I know what you’re thinking: Why would I watch a movie about a guy who can’t express things? Well, trust me, this is fine filmmaking and definitely worth watching for Norman Kaye’s performance as Charles Bremmer.

This film was the quintessence of overlooked and was a prime choice for this year’s festival. Cox’s direction is fantastic and his use of opera in the score to the film alone is worth it. There’s also a special treat in that Herzog himself acted in the film in many flashback sequences.

There was also a great discussion in the Q&A, which featured Cox and Herzog exchanging stories, discussing outlooks on film and life in general.

Man of Flowers is definitely something to watch with an open mind. Be warned, however, there is full frontal nudity and foul language, so keep the kids away from this one until they’re older.

Photo Caption: Director Rudi Dolezal introduces his film, Freddie Mercury: The Untold Story at Ebertfest. Media Credit: Blake Stubbs.

Once in a while I see a documentary that just grabs hold and keeps my focus from start to finish. Freddie Mercury: The Untold Story did that last night.

Directed by Rudi Dolezal, the film begins with some reenactment sequences of Freddie’s childhood in Zanzabar and India, coupled with interviews from his Mother and sister. As it progresses the audience is treated to a more human and personal side of one of the greatest rock vocalists to ever grace a stage.

While we all know that Freddie was the lead singer of Queen, the film gives us insight into the early bands that Freddie worked with on the road to becoming the great showman he always wanted to be.

Particularly interesting was his foray into Opera, and the film chronicles the story behind his collaboration with Opera Diva Montserrat Caballé on the song
“Barcelona.”

Originally made for television, the film was supposed to be clocked in at an hour, but Dolezal treated the Ebertfest audience to an extended ninety-minute cut packed with extra interviews.

I encourage any fan of Queen or Mercury’s solo career to pick this up on DVD as soon as it is available; it’s a truly in-depth look at one of the greats.

Co-President of Sony Pictures Classics Michael Barker addresses an audience question following the screening of La Dolce Vita as Professor David Bordwell looks on. Media Credit: Blake Stubbs.

La Dolce Vita is a must see for any serious movie-goer. I would venture to say that anyone sincerely interested in seeing filmmaking at its finest should watch this film. It is one of those staple movies that so much of today’s work has branched from.

It’s an Italian film from famed director, Frederico Fellini, who people like Martin Scorsese credit as being a huge inspiration to their art. Along with Vita make sure to check out Fellini’s other classics like 8 ½ and Satyricon (among a plethora of others).

While watching this film I started to think about how different the movies are today. Contemporary Hollywood movies seem to lack the type of confidence that Vita radiates from the first shot to the last. It’s a different viewing experience from things I’ve seen recently at the cinemas and it made me think why we don’t see things like this anymore. I’m guessing marketing is a big part, but I think it’d be good for American cinema if we opened the theaters up to more non-conventional movies.

I don’t know, maybe I’m being sentimental after going through so many good movies during this festival that have been overlooked or forgotten. Either way, I think it’s another reason why Ebertfest is so damn cool.

Writer and Director, Joey Lauren Adams, smiles to the Virginia Theatre Audience before the screening of Come Early Morning. Media Credit: Blake Stubbs.

Joey Lauren Adams, who most of you will know from Chasing Amy and Dazed and Confused, received a well deserved round of applause for her directorial debut in Come Early Morning. Adams also wrote the screenplay for the film, which was another first attempt.

The film follows Lucy Fowler (Ashley Judd) as she learns to deal with all the issues surrounding her life. Her struggle to find love and acceptance from those in her life drives the narrative of the film.

The movie is definitely worth seeing, and jumps out as a festival hit right from the start, as opposed to a big wide release type film. Ebertfest proved to be the best possible venue. Adams herself was even surprised. She mentioned during the Q&A afterward that this was the largest audience this film has ever received, and she was glad we enjoyed it.

Joined by actor, and festival favorite, Scott Wilson, the Q&A covered topics from Adams learning how to direct, to how her faith influenced her writing, and finally to working with the actors and teamsters during production. She also announced she recently finished a second script and is in the preproduction stages of getting it made.

Since this is her first film, I have to say there is a great deal of potential in Adams as both a writer and director. Which is important considering that there are not a great deal of female directors in the industry today.

Up next is the Fellini classic, La Dolce Vita.

Coductor Steven Larson and Composer discuss creating a new score for a classic silent film following the screening of Sadie Thompson . Media Credit: Blake Stubbs.

So the thing that struck me about Friday’s first film, Sadie Thompson, is the performance by Gloria Swanson. Now for those of you that don’t know (which I guess counts me as well because I haven’t seen many of her movies) Gloria Swanson was one of the biggest Hollywood actresses of the silent era. After seeing her on the big screen, I now know why.

There is something about her that is absolutely captivating. She has a presence, a way that subtly draws your attention to her in every scene she’s in; and when she’s not there, you wish she was.

The movie follows Sadie Thompson’s confrontations with a Christian missionary, a man bent on “reforming” Sadie and her flapper-esque ways. Meanwhile she falls in love with a sergeant who would do anything for her. The movie moves from comedy, (with some great vaudevillian moments) to a drama. The social issues the film brings up are interesting not only within the context of the time period, but also how it may work today.

Although, I didn’t find the movie as great as some did, I have to admit I am now a huge Gloria Swanson fan. There is another famous movie she was in which you might be more familiar with, Sunset Boulevard, and I must say that I now have a better appreciation for her performance and the film.

It’s worth noting that the film was accompanied by live music from the Champaign Symphony Orchestra. They did a superb job and composer Joseph Turrin wrote the music specifically for this film. An added bonus was that the film is the most complete version available, after deteriorating a bit from poor archival conditions and after the last reel was lost. The ending was reconstructed from production stills, the original script and a lot of hard work by some really dedicated people.

For those of you that love silent era films, or know Sunset Boulevard, this is definitely a movie to catch.

God have mercy on our dirty little hearts

I don’t know about all the other Trentophiles out there, but I’ve spent the last week since my editor handed me my own free copy of Year Zero in absolute Nine Inch Nails euphoria. I’ve listened to it so much at this point it’s probably bordering on unhealthy. If you’re not familiar with how it works in the world of these favorite sons of industrial, a new Nails album is generally few and far in between; two a decade if we’re lucky. It’s been a bittersweet goodbye to Trent’s drug habit for most as he’s lost some of the tortured charm that had so defined him since the late 80’s, but the fact that the ratio of albums to years has drastically reduced is nothing short of a joygasm for all. And the quality of the results are maturing as boldly and gracefully as the elusive front man himself.

Before delving into the Year Zero Experience as a whole, the center of it all is the music, which I have to say is quite honestly the best new thing I’ve heard in years. Reznor uses every inch of musicianship he has in himself to straddle a fine line between the past, present, and future of his own career and the business himself. Visceral and refined, raw and intelligent, it’s everything and nothing they’ve ever done. In the limited straight forward press he’s done for Year Zero, Reznor explains that he didn’t want to ground the album in 2007, musically or otherwise. Not only is it his nightmare vision of the future of the planet, taking place in 2022, but one could argue his vision of where popular music may end up as well. Rock melts with techno and hints slightly (as I’ve heard it described) at some hip-hop, taking industrial rock to levels never before fathomed. Not only can you actually dance to much of it, but on another plane altogether it may even change your life with the most mature, beautiful and poignant lyrics he’s produced yet. (Take that, Natalie Portman.)

Variations on the same basic drum beat are a constant for just about the entire album, which both helps and hurts it. One song fades effortlessly into the next, creating an hour-long experience that lets his message wash over the listener; almost working to lull one into the kind of dream state the plot has the American public under. Unfortunately this may make it almost mandatory that the listener realize it as a concept album that was not necessarily designed to be single-ready as they might be used to. Starting off with the punchy “The Beginning of the End” and following the plot from there, the first 75% of the album is a symphony of subversion, rising and falling from high energy to contemplation; each song with it’s own story that ties into one of the sites or stories in The Experience. The world of Year Zero finally reaches a frenzied and chaotic techno crescendo with “The Great Destroyer.” Is it the apocalypse or a revolution? You’ll have to listen and decide for yourself (although I like my younger brother’s hypothesis that robot aliens have just taken the planet away from us so we can’t make any more mistakes with it). The last three tracks detail the aftermath with some of Trent’s beautiful piano work on “Another Version Of The Truth” and superbly clear and emotive vocals for “In This Twilight.” Can the human race be forgiven?

My first time hearing the whole thing through was at a listening party at Chicago’s Metro in March. I actually found myself disappointed, thinking Trent had softened in his sobriety and middle age, deciding to turn to techno instead of the heavier guitar work of the past. I now see that this is anything but true and that his decisions for this album, musically and politically, may set it apart in a time of its own for generations. The best way to listen the first time is definitely through headphones to absorb the beat and lyrics before it will, I promise, become party music.

Now for the kicker. The move away from a career built on music rooted on his own inner angst and struggle into one defined more by his growing concern with current events and what they mean for the future of the country can be seen in parts of their last album, [With_Teeth], in tracks like “Right Where it Belongs” and “The Hand That Feeds.” Now he reveals his true potential for a real statement with this groundbreaking album that is quickly proving that our generation can be awoken from apathy and, even, that the music business and the concept of the album itself can still be saved. In a cryptic game of internet intrigue and secret meetings, similar to, yet far beyond ABC’s Lost Experience of a couple summers ago, Reznor has laid out and intricate labyrinth of websites that lead to other websites and even, for the clever, a secret surprise performance from the band themselves. It’s a way of engaging with the fans that both demonstrates how much he really cares for them and the power that musicians can wield when they choose to use it for good. Way too much for me to explain, so take my advice and check out http://ninwiki.com to find out all the details of The Experience.

In sum, the genre-busting sound, subversive lyrics, and engaging Experience of Year Zero set it apart on a whole new level of clarity and composition for Trent Reznor and Nine Inch Nails. And if that’s not enough for you, the CD is coated with heat-sensitive paint that changes colors when you play it. It is absolutely worth your time and will definitely stand unrivaled for a while…that is until it’s rumored sequel drops.
And all we ever were

just zeros and ones…